Quiz #3 ANSWER KEY Chapter 4 Appoggio: The Breath be Damned & Chapter 7 Castrati James Stark Bel Canto: A History of Vocal Pedagogy

Transcription

1 Quiz #3 ANSWER KEY Chapter 4 Appoggio: The Breath be Damned & Chapter 7 Castrati James Stark Bel Canto: A History of Vocal Pedagogy Question 1 One of the most critical parameters of breath management is.. Proprioceptive feedback systems Vocal onset Carbon dioxide tolerance Subglottal pressure Question 2 Appoggiare means To lean To breathe To support to relax Question 3 The early treatises offer detailed description of appoggiare True False Question 4 Who wrote the most necessary thing for success, is the art of conserving breath and managing it? Girolamo Maffei Lodovico Zacconi Question 5 Garcia s Messa di voce begins with Loose glottal closure associated with falsetto Loose glottal closure associated with voce di petto Question 6 Appoggiare can be explained as Quiet inhalation Muscular antagonism between inspiratory and expiratory muscles Raising the larynx Expanding the pharynx forced exhalation Damning the breath by means of glottal resistance

2 Question 7 Who refers to messa di voce as crescendo-decrescendo and complained that the art of singing was in a state of decline during his time? Benigne de Bacilly Domenico Mazzochi Question 8 Who wrote that messa di voce was the secret of beautiful singing? GiamBattista Mancini Blanche Marchesi Question 9 Who is credited with saying, "From the falsetto, no nobility of good singing can arise"? Domenico Mazzocchi Question 10 Who is credited with saying that when singing the messa di voce the timbre must not change, the registers should remain the same regardless of the force of the voice, and one should not use the voce di testa? Alexis de Garaudé Question 11 The manner of taking a breath is a major element in 's vocal method True False Question 12 What did Garcia consider the best test of breath support? coloratura passages spianata di voce appoggio Use of the falsetto Question 13 Who is credited with coining the term "lutte vocale"? Louis Mandl Herman Klein Question 14 Who is credited with saying, "any effort about the chest-ribs in breathing must be absolutely and entirely avoided"?

3 Louis Mandl Domenico Mazzocchi Question 15 Who is credited with saying,"hold a lighted taper (candle) to his mouth; if the flame does not flicker during the emission of sound, it shows that the sound is gently emitted, and proves him to be a master of respiration"? Question 16 Who is credited with being one of the first authors to advocate silent inhalation? Bovicelli in 1594 Zacconi Maffei Caccini Question 17 As far as "messa di voce" is concerned, who advocated an even tone quality throughout the exercise, with no change in register or timbre, and no use of the voce di testa? Alexis de Garaudé Dr. Louis Mandl Question Who is credited for being most responsible for entrenching the concept of appoggio in the pedagogical literature. This author also defined appoggio as "all the notes, from the lowest to the highest, are produced by a column of air over which the singer has perfect command, by holding back the breath, and not peritting more air than is absolutely necessary for the formation of the note to escape from the lungs." Dr. Louis Mandle II Alexis de Garaudé Question 19 Giovanni Lamperti (the son) believed what about the Italian language? Italian is the best language for singing because it is the only one without aspirates, which are detrimental to compressed breath and to the steadiness of the legato line. The Italian language permits more freedom than the French, whose strictness tends to hold composers in check and often prevents them from doing everything which their genius would inspire. Italian recitative is the same throughout and can't properly be called singing. The Italian castrati kept their voices longer than women. Question 20 Who was William Shakespeare's voice teacher who greatly influenced him? II Question 21 Dr. Louis Mandl (Dad) Giovanni Lamperti (son)

4 Who wrote about the "respiratory squeeze"? This person wrote, "There is only one place where the voice can be felt to be leaning against the column of air below it. That place is at the top of the windpipe, where the breath ceases to be breath and becomes voice." Dr. Louis Mandl Giovanni Lamperti (Dad) Franklyn Kelsey Question 22 Who is the person who wrote Das Stauprinzip un die Lehre Dualismus der menschlichen Stimme? By dualism, he meant the antagonistic tug-of-war between the inspiratory and expiratory muscles of respiration during singing. Friedrich Schmitt Rudolf Schilling Christian Törsleff George Armin Question 23 Who maintained that singing with Stütze had a significant effect on voice quality and coupled Stütze with the lowered larynx, and increased supraglottal space associated with Decken (covering), which he said occurred naturally and which darkened the tone and limited the number of upper partials in the tone. He also asserted that the beauty of the tone depends upon the limitation of the partials. Christian Törsleff Fritz Winckel Georg Armin Rudolf Schilling Question 24 Some authors, including Luchsinger and Arnold, said that Stauprinzip was identical to Appoggio. What statement below would best reflect Stark's take on the relation of these two principles? Stauprinzip involves less glottal resistance, less subglottal pressure and higher larynx than Appoggio. Stauprinzip involves a lower larynx than appoggio and higher subglottal pressure and stronger glottal resistance. Appoggio is the preferred technique for declamatory style that needs to be heard above an orchestra. Appoggio is more closely associated with a robust and athletic use of the voice. Question 25 Who was in strident opposition to the idea that Stütze was equivalent to Appoggio? He claimed that Stütze was created by pumped-full lungs in order to achieve a full, powerful tone, and that it could not be associated with bel canto. Georg Armin Rudolf Schilling Paul Bruns Richard Miller Question 26 What is the power source of singing? The vibration of the vocal folds The pharyngeal cavity The raised soft palate The respiratory system Question 27 Who gave us the great analogy of applying the brakes and the accelator simultaneously to illustrate the simultaneous contraction of the inspiratory and expiratory muscles which lead to the necessary stabilization of the breathing mechanism?

5 Donald Miller Richard Miller William Vennard Donald F. Proctor Question 28 Who asserted that the control of subglottic pressure is the key to the major problem os breathing in phonation? Donald Proctor Georg Armin T.A. Sears Richard Miller Question 29 Singers produce a broad range of subglottal pressures, depending upon the training of the singer and the requirements of different styles of music. Therefore, it is difficult to draw any firm conclusion regarding 'correct' level of subglottal pressure. True False Question 30 The impulse to take a breath is caused the need for oxygen. Question 31 Long-held notes result in a concentration of carbon dioxide in the lungs and airways, which stimulates the urge to breathe. Question 32 According to Stark, it is likely that the bel canto principles would have been developed anyway, even if the castrati had not come into the mix. Question 33 Caccini worked primarily with castrati singers. Question 34 The rise of the castrati started after the opening of the first public opera house in 1637 in Venice. Question 35 What factors contributed to the decline of the castrati by the mid-eighteenth century and into the nineteenth century? Edicts from the church rise of opera buffa rise of the romantic tenor The arrival of the do di petto which replaced vocal pyrotechnics. Question 36 Who was the last composer to write specifically for the castrato? Giocomo Rossini

6 Giacomo Meyerbeer Wolfgang Amadeus Mozart Gaetano Donizetti Question Friedrich Brodnitz wrote, "Voices mirror not only individual characters but the spirit of a period as well. In the mythological atmosphere of the Baroque opera, the castrato portrayed gods and mythological persons who presented male and female characteristics in a vocal hermaphroditic combination. It was this mythological atmosphere that gave way to teh more realistic characters of the mid 18th century and let to the decline of the castrato. What is your opinion of this statement? Does it make sense to you?